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魏晋 Wei-Jin · 乐府 Yuefu ballad

朗月行

Song of the Bright Moon

鲍照

Bao Zhao

乐府Theme 闺情Theme 明月moon 五言Theme

朗月出东山，照我绮窗前。
窗中多佳人，被服妖且妍。
靓妆坐帷里，当户弄清弦。
鬓夺卫女迅，体绝飞燕先。
为君歌一曲，当作《朗月篇》。
酒至颜自解，声和心亦宣。
千金何足重，所存意气间。

The bright moon rises from the East Mountain, shining before my carved window.
Within the window are many fair ones, their robes enchanting and lovely.
Brightly made-up, they sit within the curtains, at the door plucking the clear strings.
Their tresses outshine the Wei beauty's swiftness; their forms surpass Flying Swallow's precedence.
For you they sing a song - let it be the 'Bright Moon' piece.
Wine comes and the face unbends; voice and heart both open.
A thousand pieces of gold - how could it weigh much? What abides is between spirits.

Listen

Meaning

Under a bright moon, Bao Zhao celebrates beauty, music, and the fellowship worth more than gold.

明朗的月亮升起在东山，清辉洒落在我雕饰的窗前。窗中多有美丽的女子，她们的衣着妖娆而又妍丽。她们梳着艳丽的妆容闲坐帷帐里，面对门户拨弄清越的琴弦。鬓发之美胜过卫子夫的迅捷乌亮，体态之轻盈超越赵飞燕在先。她们为君子唱起一支歌曲，题目就叫作《朗月篇》。酒意到来时容颜自然舒展，歌声和谐时心事也得以舒宣。千两黄金又何足看重，所看重的全在彼此的意气之间。

Appreciation

Moonlight, music, and lovely singers fill the room; then Bao Zhao lifts the cup and says gold is nothing - only the bond of spirits endures. The bright moon becomes a witness to friendship.

【白话串讲】 “朗月出东山，照我绮窗前”——鲍照写朗月：明月照窗。“窗中多佳人，被服妖且妍”——“为君歌一曲，当作《朗月篇》”——“千金何足重，所存意气间”——千金算什么，意气最重。【意象与手法】由景入人，先以“朗月出东山，照我绮窗前”布下清辉满窗的静夜之境，随即转入窗中佳人，极写其容色之胜；继而写她们为君歌《朗月篇》，将月下弦歌的欢愉推向高潮；末以“千金何足重，所存意气间”收束。秾丽工致、赋笔细密，丽而有骨。【情感与主旨】南朝宋的乐府诗，写月下弦歌的欢愉与“意气相投”的看重，既有齐梁宫体式的藻绘，又因“意气”一语见出鲍照特有的俊逸风骨，对李白《古朗月行》有直接启示。【名句点睛】常考“千金何足重，所存意气间”以意气重千金写风骨；“朗月出东山，照我绮窗前”以明月照窗写静夜之境。

Background

Bao Zhao (c.414-466), a bold Southern Dynasty poet who opened the yuefu to personal, vigorous feeling. This 'Bright Moon' song is a banquet piece on beauty and friendship.

鲍照（约415—466），字明远，东海兰陵人，南朝宋杰出诗人，与颜延之、谢灵运并称『元嘉三大家』，又以乐府、七言诗开唐代先声。他出身寒微，虽才华横溢却久沉下僚，历任临川王国侍郎、秣陵令、中书舍人，终为临海王刘子顼参军，死于乱兵。其诗『操调险急』『娇厉璀璨』，多写寒士不平与家国之忧。《朗月行》一题本为乐府古题，鲍照此作写佳人对月弦歌的欢宴之景，或为其早年游于诸王幕府、亲见贵族夜宴之作。值得注意的是，李白后来明确标其《古朗月行》『效鲍照《朗月行》』，可见此诗在乐府传统中的典范地位。然李白未沿鲍照的『佳人』题材，而转为童年望月与忧时之叹，恰说明同一乐府古题在不同时代、不同诗人手中，可被注入全然不同的生命经验——鲍照写的是月下之『欢』，李白写的是月下之『忧』。鲍照（约四一四—四六六），字明远，东海人，出身寒微而才高气盛，为南朝宋杰出诗人，与颜延之、谢灵运并称「元嘉三大家」。其诗多写孤贱之士的不平之鸣，风格俊逸遒丽，尤工乐府与七言。《朗月行》借皎洁明月起兴，写佳人容华与青春易逝之叹，兼具齐梁绮丽之风与鲍照特有的清拔之气，是其拟乐府中别具情韵的一篇。

Art

Sets a moonlit, curtain-drawn scene of singing women, then pivots to the toast where gold is nothing beside 'what abides between spirits' - the poem's emotional turn.

本诗艺术上呈现『由景及人、铺采摛文』的乐府赋法。开篇『朗月出东山，照我绮窗前』仅十字段，便以『东山』『绮窗』设定了清贵而温婉的场景，『照我』二字将客观月色化为带有主体温度的注视，开启全篇的柔美基调。自『窗中多佳人』以下，转入工笔式的铺陈：先总写『被服妖且妍』，继以『靓妆坐帷里，当户弄清弦』写其妆容与技艺，再以『鬓夺卫女迅，体绝飞燕先』用两个典故作特写，写尽鬓发之乌亮、体态之轻盈。这种层层加码、如展开画卷的写法，正得汉乐府《陌上桑》写罗敷之法的神髓。至『为君歌一曲，当作《朗月篇》』方点出『歌』与『篇』，与篇题呼应；『酒至颜自解，声和心亦宣』由外而内，写欢愉由形及神；末联『千金何足重，所存意气间』忽作议论，将前面的秾丽一笔提空，显出鲍照不以声色为重的俊逸胸襟。通篇辞采斐然而不堕腻俗，赖此一结之力。诗以「朗月出东山，照我绮窗前」起笔，景中寓情，简洁明丽；继而铺写佳人「蛾眉蔽珠栊，玉颜艳明妆」之态，写容华之美、写「夜久泣罗衣」之幽怨，脉络可寻。鲍照善于在秾丽中见清劲，「三五二八时，千里与君同」以月之圆缺喻人之聚散，由景及情，自然流转。其乐府音节浏亮，设色鲜润，而又不流于轻靡，正见其「如饥鹰独出，奇矫无前」的体性。

Allusions

East Mountain echoes the 'bright moon rises' topos. The 'Wei beauty' and 'Flying Swallow' (Zhao Feiyan) are paragons of beauty. The 'Bright Moon piece' the song within the song.

诗中用典皆围绕『佳人之美』与『欢宴之雅』。『东山』可双关：《诗经·豳风·东山》写征人思归，此处则取其『山』之意象以衬月出；亦可联想谢安『东山』之隐逸，然此处但作实景。『绮窗』即雕绘如绮的窗棂，六朝诗中常见（如谢朓『玲珑结绮窗』），代表贵族居所的华美。『卫女』指汉武帝皇后卫子夫，相传其『一头乌黑靓丽的秀发见宠于武帝』，张衡《西京赋》有『卫后兴于鬓发，飞燕宠于体轻』之语，故『鬓夺卫女迅』以卫子夫之鬓喻佳人发色之胜；『飞燕』即赵飞燕，汉成帝皇后，善舞体轻，『体绝飞燕先』谓体态轻盈过之。二典一写发、一写体，精准而绮丽。『《朗月篇》』则是诗中虚拟的歌名，与题相映，见出『即事命篇』的乐府自娱性质。这些典故与意象共同织成六朝贵族夜宴的声色画卷，亦可见鲍照熔雅俗于一炉的才华。明月意象自《古诗十九首》「明月何皎皎，照我罗床帏」以来，即为闺怨、愁思之传统母题。鲍照此诗承其绪而加以齐梁式的工丽，「朗月」「绮窗」「蛾眉」「玉面」诸语，俨然宫体笔墨。又「三五二八」用《古诗》「三五明月满，四五蟾兔缺」之典，以月之盈虚暗喻欢会无常。仕宦失意、佳期难期的双关，使绮语之外别含身世之悲，与张九龄「海上生明月」同一望月怀远之脉。

Commentary

Bao Zhao's yuefu are famous for mixing courtly splendor with a solitary, defiant note; here the splendor serves a claim about friendship's worth.

全诗十四句，意脉由景而人、由人而歌、由歌而理。前二句『朗月出东山，照我绮窗前』布景：月自东山升起，清辉直入绮窗，时空清静而温婉。三四句『窗中多佳人，被服妖且妍』由景及人，『多佳人』见其众，『妖且妍』状其美，一总一分。五六句『靓妆坐帷里，当户弄清弦』写其态其艺：妆容靓丽、闲坐帷中，却偏『当户』临风拨弦，静中生动。七八句『鬓夺卫女迅，体绝飞燕先』以两典作工笔特写，由妆容、技艺深入到形貌之美，藻绘至此已达顶点。九十句『为君歌一曲，当作《朗月篇》』点出歌声与篇名，回应题目，将视觉之美转为听觉之娱。十一二句『酒至颜自解，声和心亦宣』写欢宴渐酣：酒开颜、声舒心，由外象入内情。末二句『千金何足重，所存意气间』陡然振起，以议论收束，言此夜所贵不在金玉而在意气相得。通篇如缓缓推近的镜头，由月、窗、人、妆、弦、歌、酒，终落于『意气』二字，繁简得宜，余味不尽。鲍照虽以「俊逸」称，此篇却于俊逸中见婉约，足见其风格之广。诗中以月之永恒反衬青春之须臾，「夜久泣罗衣」五字，写尽孤栖之怨而不堕凄厉，含蓄有度。其价值更在文体：鲍照大力写作七言乐府，此诗虽为五言，而其浏亮音节、设色笔法实已预示唐代歌行之成熟。李白《朗月行》显受其题面启发，然李诗更趋飘逸，鲍诗则丽而能清，各擅胜场。

Prosody

Reading note A banquet yuefu where surface brilliance yields a core of loyalty.本诗为五言乐府，句式整齐而气脉流走，是典型的南朝乐府风调。押韵上，『前』『妍』『弦』『先』『篇』『宣』『间』皆属先韵（平声），一韵到底，声情温婉圆融，与月夜欢宴的柔美基调相契；唯首句『山』（删韵）不入韵，为古诗常见的首句不入韵格式。章法上两句一联，层层推进：起联布景，次联写人，三联写态艺，四联用工笔特写，五联点歌篇，六联写酒心，末联发议论，如乐府铺叙般从容展开，却又比汉乐府更见辞藻之丽、对仗之工（如『鬓夺卫女迅，体绝飞燕先』之骈俪）。节奏上五字一顿，前六联以赋笔舒缓铺陈，至末联『千金何足重，所存意气间』以斩截的论断收束，于绵丽中忽起俊健，声律随内容由『丽』转『清』。整体可谓『辞藻有齐梁之妍，骨力有鲍照之俊』，是南朝五言乐府中声情兼美的一篇。

Line by line

朗月出东山，照我绮窗前。

The bright moon rises from the East Mountain, shining before my carved window.

The bright moon rises over the eastern hill, shining at my lattice window.

开篇二句为全诗的时空与情感底座，看似平易，却极见经营。『朗月』即明朗之月，与李白『呼作白玉盘』的童话式明月不同，鲍照的月是清贵而成熟的，带着贵族夜宴的静好；『东山』点明月出之处，既实写方位，又暗含一种从容高远的气象。『照我绮窗前』的『照我』二字最可玩味：月光本是普照，着一『我』字便有了主体温度与亲切感，仿佛这清辉特为此窗、此宴而设。『绮窗』一词则轻轻带出居所的华美而不露侈靡，为后文『多佳人』的出场铺垫了恰如其分的环境。这两句以写景起，却已暗伏『人』——月光所照之窗内，正有后文那一群被服妖妍的佳人。景中有人、静中有待，起手便笼住全篇的婉丽基调，是为乐府小诗『未成曲调先有情』的妙笔。

The opening two lines are the poem's time-space and emotional ground, plain yet carefully crafted. Bright-moon is the clear moon, unlike Li Bai's white jade plate childlike moon; Bao Zhao's moon is clear, mature, carrying the aristocratic night banquet's quiet. Eastern-hill names the moon's rising place, both the direction and a composed, lofty atmosphere. Shining-at-my-lattice-window's shining-at-me is most savored: moonlight is universal, yet the me character gives it warmth and intimacy, as if this radiance were set for this window, this feast. Lattice-window lightly brings out the dwelling's beauty without luxury, preparing the following fair ladies. These two open with scenery yet already secretly hold the person: within the moonlit window are the gorgeously dressed ladies to come. Scenery holding person, stillness holding waiting, the yuefu short poem's skill of setting tone before melody.

千金何足重，所存意气间。

A thousand pieces of gold - how could it weigh much? What abides is between spirits.

A thousand gold pieces are not the weight; what remains is the spirit between us.

末联为全诗精神之眼，也将前面秾丽的声色描写一举提空、归于俊逸。『千金何足重』以反诘斩断世俗对金银的执念，『所存意气间』则点出此夜宴饮真正珍贵者，乃宾主、歌者之间相契相得的『意气』。这一结句，使本诗免于沦为宜扬声色的宫体艳诗：前面所有对佳人鬓体、清弦《朗月篇》的铺写，至此都被重新定义——它们不是目的，而是『意气』相娱的载体。鲍照一生『才秀人微』，深慨门第之压迫，其诗中每于绮丽处忽露风骨，此联正是一例。『意气』一词在六朝常用，含恩义、情谊与慷慨之气，鲍照用以收束月下欢宴，既见其不以物累的旷达，也隐然透出寒士对平等相待、意气相投之人际的珍视，读来有『豪华落尽见真淳』之致。

The closing couplet is the poem's spiritual eye, lifting the preceding rich sound-and-color into elegance. A-thousand-gold-pieces-are-not-the-weight uses a rhetorical question to cut the worldly attachment to gold. What-remains-is-the-spirit-between-us names the true value of this night's drinking: the shared spirit between host, guests, and singers. This closing saves the poem from becoming a palace-style erotic piece: all the preceding description of the ladies' hair and the clear strings' Bright Moon song is redefined - not the end, but the vehicle for shared spirit. Bao Zhao, talented yet low-born, deeply grieving the caste pressure, often shows bone in the ornate; this couplet is one example. Spirit in the Six Dynasties holds grace, friendship, and generosity; Bao Zhao uses it to close the moonlit feast, showing his detachment from things and secretly the poor scholar's treasuring of equal, spirit-matched human relations. The line reads as luxury stripped to reveal simplicity.

Study

Word focus

绮窗 A key expression in the poem. Read it as an image, mood, or grammar point in context. 『绮窗』即雕饰如绮（有花纹的丝织品）般美丽的窗棂，是六朝诗中标志贵族居所的常用意象（如谢朓『玲珑结绮窗，徘徊汲清沼』）。鲍照置于篇首『照我绮窗前』，仅三字便不动声色地交代了场景的华贵，却又不流于侈靡——因为『绮』在此主要起渲染清雅夜境的作用，与『朗月』的素辉形成『素中见丽』的调和。更重要的是，『窗』作为内外之界，恰是月光（自然）与佳人（人事）交汇的界面：月光照窗，窗内有人，于是写景自然过渡到写人。一个词同时完成了环境定性、意境渲染与结构转捩三重功能，足见鲍照炼字之经济。在后世诗词中，『绮窗』更成为相思、闺情与明月相伴的经典符号（如李清照『乍暖还寒时候，最难将息』虽未用，然晏几道『梦入江南烟水路』一脉皆承其绪），其滥觞正可溯至此诗。

意气 A key expression in the poem. Read it as an image, mood, or grammar point in context. 『意气』在六朝语境中含义丰富，兼指意志气概、恩义情谊与慷慨相得之心（如『意气用事』『意气风发』之古义更近于『心志与情谊』）。鲍照以『所存意气间』收束全篇，将一场月下佳人弦歌的欢宴，最终归结为人与人之间『意气相投』的珍贵。这个词的选用极有分量：它使诗歌的主题从『声色之美』跃升为『精神之契』，区隔于单纯描写姿容的宫体诗。联系鲍照寒微的身世，他对『意气』的推重，或许正藏着对门第社会中真诚相待的渴望——当血缘与权势都不牢靠时，唯有『意气』可贵。一词而能 lifting 全篇格调，并将个人身世之感悄然渗入乐府艳题之中，正是鲍照『俊逸』诗风的典型体现，也预示了唐代诗人（如李白）以气驭辞、不为形役的创作精神。

朗月行